Every Sherlock needs his Watson. A versatile partner who can accommodate for an opinionated compadre, but does more than just follow his footsteps. Equally peculiar but nonetheless a gentleman. A real friend for true companionship, a problem-solving duo that’s at your service. Skolar Sans is an extensive typeface family for the age of responsive design. From gently thin to extra bold, the four subtly graded width variants will fit all your content needs. The 72 fonts come in uprights and true italics with ligatures, arrows, and fleurons. Magnifying glass sold separately. The PE version is now used by Radio Free Europe to serve news to over 200 countries and territories.
“Skolar Sans is the hugely impressive — and huge, at seventy-two fonts — new companion to Rosetta’s Skolar.”
Aegir Hallmundur for Typographica
“It’s also an object lesson in how to design a companion to a serif. Rather than any kind of straightforward chop-the-serifs conversion, the characteristic strokes of Skolar are reinterpreted and translated to the lower-contrast world of sans serifs.”
Aegir Hallmundur for Typographica
“La Skolar Sans présente l’avantage d’une très bonne lisibilité et d’un large jeu de chasses et de graisses, une italique marquée visuellement, de même qu’un jeu de glyphes étendu propice aux usages académiques (petites capitales, exposants, flèches, etc.).”
Skolar’s proportions & exemplary accents
Design universe that spans 72 styles
Pan-European language support in all 72 styles
Language support for Arabic, Persian & Urdu
Tabular lining figures
Superiors & inferiors
Serbian/Macedonian forms (language feature or stylistic set 7)
Isosceles forms of Cyrillic De and El (stylistic set 9)
Greek small caps
Iota with dialityka alternate
Urdu contextual alt.
Tabular ranging figures
More combinable arrows (there are many more)
Bulgarian forms (language feature or stylistic set 8)
David Březina is the managing director at Rosetta. While you may know him as the designer of the award-winning type family Skolar, he has also worked on custom typefaces for Adobe, Linotype (Monotype), Microsoft, Google, and others. So far, he has designed typefaces for Cyrillic, Greek, Gujarati, Devanagari, and various extensions of Latin. David holds a Master’s degree in computer science from Masaryk University in Brno (Czechia) and an MA in Typeface Design and PhD from the University of Reading (UK). His cross-disciplinary PhD thesis studied visual similarity and coherence of characters in typefaces for continuous reading in Latin, Cyrillic, and Devanagari scripts.
He has also been actively involved in writing, presenting, and conducting workshops on type and typography around the world.
Design (Latin, Cyrillic, Greek): Sláva Jevčinová
Sláva Jevčinová is a type and graphic designer from Slovakia. She holds an MA in type design from the Type and Media programme at The Royal Academy of Art in The Hague as well as an MA in graphic design from J. E. Purkyně University in Czech Republic. After an internship at Mota Italic in Berlin she specialised in TrueType hinting at Fontwerk. She has been working independently since 2013 and regularly collaborates with Rosetta as hinting specialist and type designer.
Design (Arabic): Titus Nemeth
Titus Nemeth is a type designer and typographer with specialist expertise in the Arabic script. He works as an independent designer and typographic consultant, building on his substantial experience and research in the field.
His original type designs have won multiple internationally renowned awards and are widely used for complex, cross-cultural, visual communication. Titus’ practice combines the making and the use of type, as he is convinced that both aspects inform each other: ‘the better I understand how type is used, the better I can design for it’.
Titus holds a PhD, and an MA in Typeface Design, from the University of Reading, UK, and a diploma in Graphic Design from Die Graphische in Vienna, Austria. He has taught type design and typography at a number of schools in France, Morocco, Qatar, and the United Kingdom.